Images at Work. Holl's entry for Kiasma and Lordi, the works of two over-determined images, Espoo (Helsinki), author and TKK, 2009. (original) (raw)
Related papers
Nordic Heavy Metal as a Representation of Place, September 2012
Heavy Metal Generations, ed. by Andy R. Brown and Kevin Fellezs, (Oxford: Inter-Disciplinary Press, 2012), pp. 51-63, 2012
Throughout history, the arts have been used to represent a place, a location, a nation. Writers such as Neil Kent and Michelle Facos have shown how this kind of work has played a role in nationalistic thinking and national identity formation; for artists in the Nordic countries, this has often focussed on representing the beauty, power or striking qualities of the nature or landscape that surrounds them, as a means of handing down the land itself to the next generation as their heritage.
Jähnichen, Gisa (2021). "World Music" as Popular Culture. JCDSKAR, 1(1): 27-38.
JCDSKAR, 1(1) 2020 January, 27-38 pp gisajaehnichen@web.de, 2021
This paper aims to clarify the term 'World Music' from different perspectives such as the academic, the educational and the perspective of the popular music market. Investigating a few examples recently presented during the largest World Music fair WOMEX and set into relation with terms used locally in a cross-functional context, some suggestions will be made to provoke further discussion in the field of music practice and transmission. The UNESCO Global Alliance for Cultural Diversity points out that WOMEX is "The most important international professional market of World Music of every kind. This international fair brings together professionals from the worlds of folk, roots, ethnic and traditional music…" Knowing that World Music is primarily an item created for global business, processes and transformations take place that should not be neglected academically. How much world contains World Music? Whose world? Which music? Under the banner of World Music, ethnic labelling and global promotion structures replace often an individual appropriation of musical products that might be of high potential in music education. Focusing on this possibility, the discursive presentation is based on live observations, interviews and most recent literature.
Visual images in Turkish pop: the subversive role of cultural hybrids
2016
Globalisation brings with it fears of cultural imperialism and a global mass culture from the West. This article contends that global imagery in the promotion of Turkish popular music actually enhances difference within Turkey. Global images are employed alongside Turkish ones to create an array of cross-cultural hybrids which Turkish viewers may read as expressions of cultural, political and social difference. A social semiotic approach is used on a sample of visuals from three genres of popular music. Analysis is complemented with an historical and social contextualisation in order to enhance understanding of how images blend the global with the ‘local’ in different ways to enable a medium of protest. Here is a case where global images are an integral part of hybrids which express dissent to national social and political issues
Welcome to the module. The aim of this module is to provide students with an understanding of popular culture, music, and art within a global context. This course explores contemporary social and cultural issues through the lens of music, arts and popular culture. It aims to develop students' confidence to assess a broad range of arguments by moving from the descriptive to the analytical. Students should learn that the search for single explanations reduces the complexity of social phenomena and how we understand them.
IKONA - An Intercultural Research Project in Music and Philosophy - Joint ICMC|SMC 2014
This work deals with cultural studies continue and more particularly the aesthetics of iconic reflections, where Ikona means not only a substrate-image but also an acoustic instrument. What stimulates imagination more than a medium which is infinitely powerful by nature – as in the case of religious iconography – and powerless at once, since it almost never allows detachment from the reality of its figuration. As we do in semiotics for indexes, signs and symbols in visual art we deal with complex languages that hosts “things” i. e. “images” that refer constantly to other “things” and it occurs very often that what it is given as an economic advantage is obtained from a synthesis of its contrary: a regressus ad infinitum. A support of acoustic resonance is added to this substrate-image by rethinking the modular mind and the increasingly close relate between neuroscience, simulation of complex systems and the users of social network on the one hand and the role of ethics in areas that may be considered “art fields” but whose accommodation is still poor, inappropriate, pending regulation or uneven. In the context of the International Conference of Music and Philosophy, as we shall see, this reflection leads to a deepening of themes which are common to both field of research: ethics, interaction, reflection, choice, freedom, playfulness, imagination.
2023
The following considerations are the result of my increasing distress in the context of my most recent examination of visual source material with musical subiect matters.l The disturbance is based, firstly, on the highly disparate spectrum of so-called "travelling" theoretical and methodological paradigms,' and secondly, on the fact that in spite of the broad application of "travelling theories" in musiciconography research, a profound examination and debate about theoretical and methodological concepts hardly exist within the discipline itself. The following considerations attempt to present and discuss some of the numerous existing and sometimes even contradictory ideas about pictures and images since such ideas are momentous regarding the definition of the ontological status of the Picture and even more, considerably influence any music iconography venture with regard to methodological and epistemologicäl issues. Thus, the following considerations are not intended as recommendations but rather as a stimulus to reflect upon issues that are highly relevant for any research venture that aims at generating relevant knowledge. One fundamental question that arises in this context relates to the epistemic surplus of visual source material within music tesearcha field of research that is not primarily defined by visual media apart from musical notation that is, however, only tentatively considered from the perspective of its visual dimensions. Nevertheless, in connection with research topics related to music, one repeatedly refers to both visual ob.lects and visualised musical matters. Notable and wellknown examples are Sebastian Virdung's Musica getutscht of L51.73 (fig. t) and the second volume of Michael Praetorius's Syntagma nusicium of 76I9a €ig. Z) but also 1 The considerations explored in this essay are closely related to an essay that was written almost at the same time and sometimes even in parallel work processes. The two essays therefore constitute a close network of ideas, thoughts, and refection without completely merging into each other. They speak with and to each other and complement one another. They resemble each other at times and-in a figurative senseare like fraternal twins who retainepistemologically arguedtheir uniqueness. The sibling is: Antonio Baldassarre, "Musik im Blick: Im Dickicht der Positionen," in Musik im Blick: Vkuelle Perspektiuen auf auilitiue Kuhuren, ed. Caroia Bebermeier and Sabine Meine (Cologne: Böhlau, 2023),5019. 2 Concerning the notion of travelling concepts and theories see Edward W. Said, "Traveling Theory," in The World, the Text, and the Ctitic (Cambridge, Mass.: Harvard University Press' 1983), 226-247; and Mieke Bel, Trauelling Corceltts in the Hunanitler (Toronto: University of Toronto Press, 2002). 3 ' Sebastian Virdung, Musica getutscht und auf;gezogez (Basel: Michael Furter, 1511)' 4 Michael Praetorius, Syntagma musicum, vol. 2 (Wolfenbüttel: Elias Holwein, 1619). 8 ,'Die visuelle Brillanz, die etwa die Molekuiarbiologie, die Nanorechnologie, die bildgebende Medizin oder die Klimaund weltraumforschung erreichen, geht über den Begrif[der Illustration weit hinaus." Horst Bredeka rnp, Theorie des Bildakts (Berlin: Suhrkamp, 2013), 14. All translations by the author unless otherwise stated. 9 Winternitz,"The Iconology of Music: potential and pitfalls," g0. 10 See Michael Ann Holly, Panofsky and the Foundation of Art History (Ithaca, N.y.: cornell lJniversiry Press,1985). 1'1 Erwin Panofsky, Stüilies ifl leonology: Humanistic Thernes in the Art of Renaissan ce (New yorl<: oxford University Press, 1939). 'l'2 Erwin Panofsky, The Llfe and Art of Albrecht Dürer (Pünceton, NJ.: princeton university press, 1'94,3); Erwin Panofsky, cothic Architectute and Scholasticisffi (L^tro;e, pA: Archabbey p."ri tsst); and Erwin Panofsky, Early Netherlanilish Painting: Its oigins and character (camüridge, tvtass.: